paid little attention to him during his first visit. The Prince himself seemed out of his element in this new world. It was necessary for him to catch up with his times. Handel certainly wrote some cantatas, only one of which, Lucretia, with a dramatic character, was very popular in Italy and in Germany later on.[95] Its style was nearly completely German.

From Florence he went to Rome for the Easter festivals in April, 1707. Even there the moment was not very favourable for him. The Grand Opera House, the Tor di Nona, had been destroyed as immoral by an edict of Pope Innocent XII ten years before. Since 1700, things had been a little easier for the musicians, but in 1703 a terrible earthquake had desolated the country, and reawakened religious qualms.[96] Even in 1709, during the whole of Handel’s sojourn in Italy, there was not a single representation of Opera at Rome. On the other hand, religious music and chamber music were enjoying a great vogue. Handel, during the first months, listened and studied the religious music at Rome, and tried his hand on similar works. From this period dated his Latin Psalms.[97] Thanks to the letters of recommendation he had from the Medici, he had also been introduced into the Roman salons. He became famous there, more on account of his virtuoso powers on the keyboard than of those of composer. He remained at Rome until the autumn of 1707.[98] Doubtless, he returned to Florence in the month of October, and it appears that he then produced Roderigo for the first time. Handel had then been nearly a year in Italy. He set about writing an opera in Italian. His boldness was justified. Roderigo was successful. Handel gained through it the favour of the Grand Duke, and the love of the Prima Donna, Vittoria Tarquini.[99] Fortified by his first victory he went on to try his luck at Venice.